IBERIA — Albéniz
A long overdue revision of my earlier edition from 2018 has provided a splendid opportunity to rediscover this extraordinary creation from Albeniz’ last years — 12 nouvelles Impressions. They are thoroughly reexplored and published here in four volumes as first presented by the composer in 1906-8.
Messiaen never tired of pointing out to his disciples how he had come to appreciate dissonance after listening to Iberia, and to help understand how these clusters work, they are sometimes exchanged with acciaccaturas.
For early 20th century publishers, much of Iberia must have been an engraver’s nightmare. This edition therefore addresses the problem, by removing a minimum number of notes and suggesting alternative ways to perform this sublime, passionate and rewarding music. To clarify the text some adjustments have been made to non-essential counterpoint and unnecessary rests have been omitted. In a quest to remove challenging accidentals, a number of appropriate key signatures have been inserted.
Granados described the music of Albéniz as quite unique: “an elegance that smiles with sadness and progresses by degrees until it achieves a mastery both commanding and serene; like Goya’s Maja, Iberia evokes memories of our ‘golden century”. To have some idea of their worth, it is useful to read Debussy’s appreciation of Eritaña (book IV): “les yeux se ferment comme éblouis d’avoir contemplé trop d’images”.**
October 2024
LE TOMBEAU DE COUPERIN — Ravel
Ravel writes an antique dance suite and the title refers to a tomb… so does this mean we are dancing on Couperin’s grave? In a sense, we are… and in a field of cornflowers and poppies.
As part of a general reappraisal of my work on Ravel, PPE presents a thorough reworking of this masterwork, another audacious edition replacing the earlier publication of September 2019. In addition to some adroit solutions I hope you will find a generally improved layout.
October 2024
VALSES NOBLES ET SENTIMENTALES — Ravel
With tongue in cheek Ravel thus presents his Valses Nobles et Sentimentales : ‘I have never, in writing, sought anything other than the delectable and ever new pleasure in a frivolous pursuit’. (Taken from a novel by Henri de Régnier — Les Rencontres de monsieur de Bréot). PPE presents another definitive, audacious and turbo-charged edition, replacing the earlier publication of September 2017. In addition to the usual adroit solutions to problems posed in the challenging text, you will find a few adaptations taken from Ravel’s orchestral score and some preparatory exercises. I have also taken the opportunity to correct a number of regrettable errors, both large and small, sometimes pinpointed by the readership, and to generally improve the layout.
MIROIRS — Ravel
Noctuelles : this deliberately “clumsy” piece moves between key and time-signatures as often as a noctuid moth seeks nectar from a flower. In spite of over 25 changes of key, Ravel preferred to stay with a key-signature of 5 flats, which results in a raft of (dare I say gauche) accidentals.
MA MÈRE L’OYE — Ravel
Many thanks for all the useful feedback; I have recently revisited my 2019 revision of Ravel’s Mother Goose, making significant corrections and improving the layout. This fascinating exploration resulted inevitably to a new two-hand arrangement, which I believe will make an exceptional addition to the composer’s solo repertoire. There is extensive use of the sostenuto pedal and glissandos can be found in a wide range of dynamics. Le Jardin Féerique is an excellent study for the magical timing of arpeggiated chords. My favourite is no doubt Les Entretiens de la Belle et de la Bête, an eloquent waltz with unusual phrase lengths, indicated with dashed barlines; it also features a ravishing and pertinent coupling of the two themes.
Ravel often preferred the company of the young to that of adults and said : “Writing music to describe the poetry of childhood encouraged me to simplify my style and to refine my means of expression”. The contrast between Ma Mère l’Oye and Gaspard de la Nuit, from the same year 1908, is staggering, yet the fundamentals — melodic design, exquisite harmony and the evocation of enchantment — is evident in the two works.
16 October 2022
SIX STUDIES IN CANONIC FORM Op 56 — Schumann
These ‘preludes’ have been extracted from Six Studies in Canonic Form Op 56, whose unfortunate academic title hides music of great beauty and originality. In an effort to publicise their worth they have been sexily renamed Preludes in Counterpoint. I have transcribed three personal favourites for solo piano — the two outer pieces, both lyrical and romantic, frame a mischievous staccato canon in the style of Mendelssohn.
PHANTASIE Op 17 — Schumann
You can now download the result of months of enjoyable revision of this extraordinary work. I have included two preparatory studies for the second movement, including the notorious coda, and Schumann’s original discarded coda to the third movement.
Does anyone have an opinion with reference to the following conundrum in the second movement?
Measures 1 to 5 — given that the LH arpeggiated chord of 6 is clearly to start before the beat, logically these five bars should start on the beat. I have found no reference to the problem anywhere.
SIX SONG TRANSCRIPTIONS OF SONGS BY SCHUMANN
PPE is delighted to announce six new solo piano transcriptions by Ray Alston, ideal for students and aficionados above grade 8. Adelbert von Chamisso’s 1830 cycle of poems Frauenliebe und Leben — A Woman’s Love and Life — expresses sentiments totally out of step with the concept of women’s liberation, but the music is absolutely gorgeous.
Op 25/3 Der Nussbaum page 3
Op 39/1 In der Fremde page 9
Op 39/8 In der Fremde page 16
Op 42/4 Du Ring an meinem Finger page 20
Op 42/5 Helft mir, ihr Schwestern page 25
Op 57 Belsatzar page 30
My purpose was to discover the essence of this irresistible music, at the same time creating a pianistic challenge and an addition to the recital repertoire. I have faithfully kept to the original melodic lines and harmonies with some artistic licence, filling the gap between Clara’s straightforward arrangements and the more flamboyant versions of Liszt and Godowsky.
August 2021
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